fy 4i
MENOTTI'S USE OF DRAMATIC IMPACT
IN THE MEDIUM
T HESIS
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
by
Jimmy Tompkins, B. M.
Denton, Texas
August, 1968 TABLE OF CONTENTS
Page LIST OF TABLES......
LIST OF ILLUSTRATI ONS ......
Chapter
I. INTRODUCTI)N...... 1
II. CONCEPTS OF MENOTTIS MUSIC DRAMA...... 7
III. DRAMATIC RECITATIVE IN THEMEDIUM...... 12
The Structure of The Medium Symbols for Analysis of Dramatic Recitative Analysis of Dramatic Recitative
IV. THE USE OF LEITMOTIFS IN THE MEDIUM...... 27
Fear Leitmotif Spirit Leitmotifs Grief Leitmotif Hope Leitmotif Baba Leitmotif Monica Leitmotif Love Leitmotif Toby Leitmotif
V. THE USE OF TONALITY IN THE MEDIUM...... 105
The Tonality of Leitmotifs in The Medium
VI. CONCLUSIONS...... oo...... 120
APPENDIX...... 126
BI BLI OGRAPHY...... 17 1
iii LIST OF TABLES
Table Page
I. Individual Totals of Recitatives Used in The Medium -. - 0-a-0-0-0-0-0-a- - 0-0-0-a. 0.0-0- 15
II. Individual Totals of Recitatives Used in Sections of Dramatic Recitative ...... 24
III. Moods and Forms Within Sections of Dramatic
Recitative ...... 26
IV. Uses of the "Fear" Leitmotif in Conjunction with Text or Stage Action in Act I of The Medium ...... 41
V. Melodic Uses of the "Fear" Leitmotif in
The Medium - ...... -...... 55
VI. Rhythmic Uses of the "Fear" Leitmotif in
The Medium ...... 58
VII. Uses of the "Spirit Leitmotif I" and "Spirit Leitmotif II" in Conjunction with Text or Stage Action in Act I of The Medium . . . . 66
VIII. Melodic Uses of "Spirit Leitmotifs I and II" in The Medium . . . .*.*. .. 0** . . .. .77
IX. Uses of the "Grief" Leitmotif in Conjunction with Text or Stage Action in The Medium . . 81
X. Uses of the "Hope" Leitmotif in Conjunction with Text or Stage Action in The Medium . . 85
XI. Melodic Uses of the "Hope" Leitmotif in
The Medium ...... 90
XII. Uses of the "Baba" Leitmotif in Conjunction with Text of Stage Action in The Medium . . 93
XIII. Uses of the "Monica" Leitmotif in Conjunction with Text or Stage Action in The Medium . . 96 iv Table Page
XIV. Uses of the "Toby" Leitmotif in Conjunction with Text or Stage Action in The Medium . . . 101
XV. Individual Percentages of Tonal Centers and Indefinite Tonality in Act I of The Medium . . 103
XVI. Individual Percentages of Tonal Centers and Indefinite Tonality in Act I of The Medium ...... 110
XVII. Individual Percentages of Tonal Centers and Indefinite Tonality in Act II of The Medium ...... 111
XVIII. Tonality of Concentrated Areas of Leitmotifs in The Medium ...... 116
V LIST OF ILLUSTRATIONS
Figure Page
1. "Where, Oh Where"--Monica, Act I, p. 2 . . ..18
2. "1 Shall Be Your Servant"--Monica, Act I, p. 5 ..18
3. "It Happened Long Ago"--Mrs. Gobineau, Act I, p. 17 .0.*.0.*.*.#.a.0.0.0.a.0.0 . 19
4. "Mummy Dear".--spirit voice, Act I, p. 27 .*. 20
5. "Black Swan"--Monica and Baba, Act I, p. 48 21
6. "Dance the Waltz"--Monica, Act II, p. 60 . . 21
7. "Monica, Monica"--Monica, Act II, p. 63 .. 22
8. "Madame Flora," Act II, p. 88 . . . . . 23
9. "Afraid, Am I Afraid?"--Baba, Act II, p. 102 23
10. "Fear" Leitmotif, Act I, Measures 102
(a) Treble Portion of the Leitmotif 28
(b) Bass Portion of the Leitmotif ..28 .
11. Diagrams of Complete "Fear" Leitmotifs . . . . 29
12. "Fear" Leitmotif, Act I, Measures 23-24 .. 32
13. Segments of the "Fear" Leitmotif
(a) Original ...... 33
(b) Variation of Original . . . . 33
(c) Inversion of Original . . . . 34
(d) Variation of Inversion . . . . 34
vi Figure Page
14. Ground Bass Figures Used with the "Fear" Leitmotif
(a) Ground Bass ...... 35
(b) VariationI -1.,- .. -* - -a-35
(c) VariationII .-.-.--- -*-.-* 35
(d) Variation of1II -..- 4-* 35
15. The "Fear" Motif
(a) Rhythm of the Treble Figure (Fig. 10). - 37
(b) Rhythm of the Bass Figure (Fig. 10) - - 37
16. The "Fear" Motif
(a) Original Rhythm ...... -38
(b) Variation I . 1. - - . - . - - - - 38
(c) Variation II ...... 38
17. The "Fear" Motif
(a) Original Rhythm ...... 8
(b) Segment of the Rhythm ...... 38
18. The "Fear" Motif
(a) Ground Bass Rhythm ...... 39
(b) Segment I ...... 39
* - 39 (c) Segment II ...... - - - - - .
19. Melodic and Rhythmic Uses of the "Fear" Leitmotif
(a) Act I -...... 49
(b) Act II . . -.--.-.-. -. -. - 50
vii Figure Page
20. Concentrated Areas of "Fear" Leitmotifs
(a) Act I - - . ------. - . . - . . . 52
(b) Act I11 0 ------.53
21. "Spirit Leitmotif I," Measure 2 After 18 . . . . 62
22. "Spirit Leitmotif II"
(a) Basic Leitmotif, Measure 5 After 1 . 64
(b) Variation, Measure 1 After 24 . . . . 64
(c) Inversion, Measure 8 After 37 . . . . 64
23. Melodic Uses of "Spirit Leitmotif I" and "Spirit Leitmotif II"
(a)2Act.ConcntrateAreas. "Spirit" Leitm70
* 71 (b) Act II ......
24. Concentrated Areas of "Spirit" Leitmotifs
(b) Act IIo ...... 74
25. The "Grief" Leitmotif, Act I, Measures 6-8 after 13
(a) Antecedent Portion of the Leitmotif . .78
(b) Consequent Portion of the Leitmotif . .78
26. Melodic Contours of the "Grief" Leitmotif
(a) The Original Contour, Act I Measure 6 After 13 ...... 79
(b) A Variation of the Melodic Contour, Measure 7 in ActII ...... 79
viii Figure Page
27. Rhythmic Forms of the "Grief" Leitmotif
(a) Original Rhythm, Act I, Measure 6 After 13 ...... 80
(b) Variation I, Measure 6 in Act II . . 80
(c) Variation II, Measure 8 in Act II . . . 80
28. Melodic Uses of the "Grief" Leitmotif
(a) Act I1 .0 .0.4.0. .*.0.6. . 0.0. a.0.0. 82
(b) Act II ...... 0 .0 .a .# .a .&.0 .0.0. 83
29. The "Hope" Leitmotif, Act I, Measure 1 After 20 . 84
30. Melodic Contours of the "Hope" Leitmotif
(a) Original Contour...... 84
(b) Variation I of the Contour ...... 84
(c) Inversion of the Contour ...... 84
31. Melodic Uses of the "Hope" Leitmotif
(a) Act I ...... * . . * 89
(b) Act II . . o. . .*.0.0.a.a.0.6.0.*.0.0.0.89
32. The "Baba" Leitmotif, Act I, Measure Before 5 . 91
33. Uses of the "Baba" Leitmotif in Act II ...... 94
34. The "Monica" Leitmotif, Act II, Measure 5 After 2 ...... 95
35. Uses of the "Monica" Leitmotif in Act II . . . . . 97
ix Figure Page
36. The "Love"Leitmotif
(a) Basic "Love" Leitmotif, Act II, Measure 8, After 4 ...... 98
(b) Variation of the "Love" Leitmotif, Act II, Measure 10 After 4 . . . . . 98
37. Uses of the "Love" Leitmotif in Act II ...... 99
38. The "Toby" Leitmotif, Act II Measures1-3 After 4 ...... 100
39. Uses of the "Toby" Leitmotif in Act II . . . . . 102
40. Tonal Centers Used in The Medium
(a) Act I ...... a . a a . a 107
(b) Act II . a a . a . . a . . a a a a a a 108
41. Locations of Bb Tonality and Leitmotifs Used in Conjunction with Bb Tonality in Act II . 119
42. Master Graph I--Uses of Recitatives . a a a a . 127
43. Master Graph II--Uses of Leitmotifs . a a . a a 139
44. Master Graph III--Uses of Tonal Centers . . . a 159
x CHAPTER I
INTRODUCTION
In the history of the American lyric theater, the opera composer who has commanded the greatest amount of attention in this country, and whose works have been the most consist- ently successful is Gian Carlo Menotti. Employing a unique fusion of music and drama, Menotti achieves a dramatic inten- sity and clarity unsurpassed by any other American composer.
His has been the greatest single contribution to this branch of our musical art. 2
Born at Cadegliano, Italy, on July 7, 1911, Gian Carlo
Menotti was the sixth of ten children. Having learned the rudiments of music from his mother, he began composing as a child and at the age of ten years attempted his first opera,
lMenotti terms his works "music dramas" rather than "operas" (this subject is discussed in Chapter II); however because -most sources used in this introduction use the term "opera" rather than "music drama," the term "opera" has been used throughout the introduction.
2 Howard Groth, "Gian Carlo Menotti and the American Lyric Theatre," The Bulletin of National Association of Teachers of Singing,, Inc., XV (December, 1958), 16.
1 2
La Morte di Pierrot. At the age of sixteen, after several
years of study at the Milan Conservatory, Menotti came to
the United States to study composition with Rosario Scalero
at the Curtis Institute in Philadelphia. It was here on
April 11, 1937, that his first complete one-act opera,
Amelia al Ballo, was performed. The work was later performed
in New York; and on March 3, 1938, it reached the stage of the
Metropolitan Opera House, where its reception confirmed the
appearance of a new talent in the American lyric theater.3
After completing his musical training at the Curtis
Institute, he strove to relate his skills more closely to his
American environment by writing his next opera in English
(his earlier works were written in Italian). This comic
opera, The Old Maid and the Thief, was commissioned by the
National Broadcasting Company for radio performance in 1939, and it later proved equally successful on television.4 He then changed to tragedy, rather less successfully, with The
Island God (one act), which was produced by the Metropolitan
3 Theodore Baker, "Menotti, Gian Carlo," Baker's Bio- graphical Dictionary of Musicians, 5th ed. (New York, 1958).
4 Gilbert Chase, "The Operas of Menotti," America's Music (New York, 1955), p. 648. 3
Opera Company in 1942.5 A few years later he was commissioned by the Alice M. Ditson Fund of Columbia University to write an opera. The result was a work that made him famous: the musical tragedy in two acts titled The Medium, produced at the Brander Mathews Theater on May 8, 1946.. After considerable revision by Menotti, this work was presented by the Ballet
Society at the Heckscher Theater in New York from February l to February 20 in 1947.6 A month later The Medium and its companion piece, The Telephone, written as a curtain raiser for The Medium, opened on Broadway, with a run that began on
May 1st at the Ethel Barrymore Theatre. Thereafter the two operas enjoyed continuous success, with many performances in
America and Europe.7
Menotti adhered to tragedy in his next work, The Consul.
This work, an opera in three acts, received its premiere at the Schubert Theatre in Philadelphia on March 1, 1950, and began its Broadway run at the Ethel Barrymore Theatre on
March 15, 1950. The popular success of The Consul exceeded
5Ibid., p. 650.
6 Gian Carlo Menotti, The Medium (New York, 1947), p. iii.
7 Chase, _op. cit., p. 648. 4
that of his previous operas. It had a long run in New York
and was later produced all over the world.
Another distinction came to Menotti when he was com-
missioned by the National Broadcasting Company to write the
first opera designed especially for television production.
This was Amahl and the Night Visitors, a short work which was
produced on Christmas Eve, 1951, by NBC-TV. It has become
an annual television production every Christmas in subsequent
years.9
His next opera, The Saint of Bleecker Street, was pre-
miered by the Broadway Theatre in New York on December 27,
1954. That same year it won the Dramatic Critics Circle
Award for the best play of 1954, and in 1955 it was awarded
the Pulitzer Prize.10
In 1957 he completed the opera Marie Golovin, written
expressly for the International Exposition at Brussels and
staged there on August 20, 1958.11
8Gian Carlo Menotti, The Consul (New York, 1950), p. iii.
9 Gian Carlo Menotti, Amahl and the Night Visitors (New York, 1951), p. iii.
10 Gian Carlo Menotti, The Saint of Bleecker Street (New York, 1954), p. iii.
1 1 Baker, p_. cit. 5
His most recent opera, The Last Savage, was premiered by the Metropolitan Opera Company in 1964 and was retained for the 1965 season.12
Menotti has scored all of his operas for a small orches- tra and virtually without chorus. The ensembles of solo singers perform the function of the operatic choral groups.
This modest scoring has made it possible for his operas to be performed by numerous student groups and small operatic organizations.
Undoubtedly Menotti's fame must be attributed to his operatic works; however, he has composed considerably in other areas. His non-operatic works include Variations on a Theme of Schumann (awarded the Lanber Composition Prize, 1931); six compositions for carillon (1934); children's pianoforte pieces
Poemetti per Maria Rosa (1937); a Trio for a House-warming
Party for flute, cello, and pianoforte (1938); three ballets:
Sebastian (1944), Errand into the Maze (1946), and The Unicorn, the Gorgon, and the Manticore (1956); a piano concerto (1945); a symphonic poem, Apocalypse (1951); a violin concerto (1952);
1 2 Gian Carlo Menotti, The Last Savage (New York, 1964), p. iii. 6
and his most recent work, a cantata, The Death of the Bishop of Brindisi (1964).13
Whereas general conceptions of Menotti's style are avail- able in various articles, none of the previous writings on this subject have attempted to give a detailed analysis of the techniques and devices used by Menotti in his operas. As has been stated, Menottils greatest asset as a composer of opera is his genius for employing a unique fusion of music and drama.
The purpose of this study, then, is to isolate the various concepts and devices of composition used by Menotti and deduce how he has used them to create dramatic impact. The work chosen for this analysis is The Medium, which established
Menotti as the foremost composer-librettist of modern opera.1 4
It is felt that this opera offers a cross section of the con- cepts and devices used in all of the operas composed thus far by Menotti.
13 Baker, op_ cit.
1 4 Ibid. CHAPTER II
CONCEPTS OF MENOTTI'S MUSIC DRAMA
Since the purpose to be pursued in this thesis is to
establish how Menotti has used technical devices to create
dramatic impact, it is felt that this purpose can best be
accomplished by first examining two of Menotti's basic con-
cepts: (1) music drama versus opera, and (2) the recitative versus the aria.
Menotti makes a distinction between the term "opera"
and his own works, which he terms "music dramas."' As
opposed to "opera," which places emphasis on the aria and the virtuosity of the performer, 2 Menotti's "music drama" tells a story which is intensified with music. Secondly, Menotti makes it clear that he considers the recitative, rather than the aria, the most important element of the music drama, an idea that he asserts in the following statement.
1 Gian Carlo Menotti, "About The Consul," The Consul, Decca Recording Jacket DL 9500. 2 Willi Apel, "Opera," Harvard Dictionary of Music (Cam- bridge, Massachusetts, 1966).
3 Gian Carlo Menotti, "About The Consul," The Consul, Decca Recording Jacket DL 9500.
7 A composer today can not hope to build an opera by stringing together a series of brilliant arias. He will simply fail to provoke excitement in any but the most effete of his listeners. For the contemporary composer the exciting challenge is the recitative. It is the logical instrument of action, and he must find the way to make it work for him musically and dramatically.4
In considering his works to be music dramas with the recitative as the logical instrument of action, Menotti aligns his concepts with Richard Wagner's concepts of music drama, three of which are stated here: (1) there are no formal divisions made between recitative and aria; (2) music drama implies a polyphonic substructure which is realized by the orchestra, and which embodies the "inner action" of the drama (for example, the feelings) as the words embody its "outer action" (for example, the precise ideas with which the feelings are connected); (3) the music drama is unified by the use of "leitmotifs," musical themes each connected with a particular person, thing, or idea (or all three).
These concepts of music drama are basic to Menotti's creation of dramatic impact in The Medium. Therefore, in this analysis, each of the following areas will be considered:
4 Gian Carlo Menotti, "A Note on the Lyric Theatre," The Consul, Decca Recording Jacket DL 9500.
5 Willi Apel, "Opera," Harvard Dictionary of Music. 9
1. "Dramatic Recitative" --a discussion of the types of recitative that are used in Menotti's music drama, and the grouping of recitatives into sections which contain definite form. In this thesis these sections, termed dramatic reci- tative, will be considered the counterpart of the aria used in opera.
2. "The Use of Leitmotifs" --a discussion of the use of leitmotifs and their function in unifying The Medium.
3. "Tonality" -- a discussion of the relationship of tonality to the structure and the use of tonality in con-
junction with motives to create dramatic impact.
The source material for these three areas of analysis is contained in the appendix of this thesis in the form of three "Master Graphs": Graph I-- an analysis of the recita- tives used in The Medium; Graph II-- an analysis of the leit- motifs used in The Medium; and Graph III-- an analysis of the tonalities used in The Medium. The graphs are drawn to scale; one-eighth of an inch equals one second. Using this scale of seconds, each graph shows the duration of every measure in
The Medium. The duration of measures in seconds was deter- mined by using a stop watch and a metronome in conjunction 10
with the piano-vocal score and the recordings of The
Medium. The recording was produced under Menotti ts super- vision and thus is considered to be a valid interpretation of The Medium. Although each live performance of The Medium will differ, the basic relationship of tempos within each will remain essentially the same. Therefore, these graphs give approximate measure durations of a typical performance.
The purpose of these graphs, scaled in seconds, is to allow a picture of the duration of each measure. All three graphs use the same scale in order to facilitate comparison
of material within each (for example, the "tonality" of a
specific "leitmotif").
Within Chapter IV, "The Use of Leitmotifs," and Chapter
V, "Tonality," Master Graphs II and III are reduced according
to scale; one-quarter inch equals ten seconds. This reduc-
tion permits a graph of an entire act to be placed on a single
page, thus allowing the viewer to see at a glance, for example,
the frequency of use of a motive within an act, the location
of each motive, and the duration of each motive. Two symbols,
numbers contained within circles, and numbers contained
6 Gian Carlo Menotti, The Mediu (New York, 1947).
7 Gian Carlo Menotti, The Medium, Columbia Masterworks Recording #DSL-154. 11
within squares, are used in all of the Master Graphs con- tained in the Appendix and in all of the reduced graphs
found in Chapters IV and V. The encircled numbers are refer-
ence points found in the score of The Medium. The numbers
contained within squares indicate minutes having elapsed within a single act. Additional information necessary for
interpreting the reduced graphs found in Chapters IV and V will be found beneath the individual reduced graph. CHAPTER III
DRAMATIC RECITATIVE IN THE MEDIUM
The Structure of The Medium
The term "structure," as applied in this thesis, denotes the basic framework of a music drama. This framework is com- posed of various types of recitative. Recitative is defined as a section of music in which the dramatic action is con- tinuous. Thus either vocal or instrumental music, or both in combination, may be considered recitative. Vocal sections are considered recitative because of action shown through narrative syllabic text; and instrumental sections are con- sidered recitative because of the action inferred through musical motives. A listing and an explanation of the types of recitative are as follows:
A. Instrumental recitative -- a section in which the dramatic action is carried on only by the instruments.
B. Vocal recitative -- a section, accompanied or unac- companied, in which the voice or voices carry the dramatic action. The types of vocal recitative are as follows:
12 13
1. Recitativo secco--the rhythm is free to follow the verbal accentuation with the interest lying on the vocal part, over a very simple accompaniment or without accompaniment.
2. Recitativo stromentato--the vocal rhythm is stricter than recitative secco due to a more elaborate accompaniment.
3. Recitativo arioso--an accompanied passage con- taining a very melodic vocal line.
4. Ensemble stromentato recitative--vocal passages that are composed harmonically (either homophonically or contrapuntally). All ensembles in The Medium are stromentato recitative.
5. Parlato or decalamato recitativo--accompanied or unaccompanied, used in the following ways:
a. Spoken dialogue, without vocal notation.
b. Conventional vocal notation, but the
rhythm and pitch are only approximate.
c. Sprechgesang notation, with approximate
rhythm and pitch.
6. Dramatic recitative--a composite of several other types of recitative arranged in such a way as to create sections with definite form. The sections are 14
considered dramatic recitative rather than arias because the text of these sections is predominantly syllabic with emphasis on a continuous flow of dramatic action. As opposed to the dramatic recitative, the tra- itional aria demands melismatic passages in order to exhibit the virtuosity of the performer; such passages sacrifice action for virtuosity. Sections of dramatic recitative within The Medium were determined by analysis of the text. Each section constitutes a different mood or idea in the development of the plot. For example, the first section, "Where, Oh Where," embodies the idea of the happiness that Monica and Toby enjoy in their make-believe world when they are alone together. The section ends when Baba enters and completely changes the mood.
The form within sections of dramatic recitative is defined as a combination of thematic melodies. The analysis of sections will be shown by diagrams in which thematic lines constituting form will be designated by small and capital letters. Thus form within a given section will be indicated by a combination of these letters. 15
Table I is based on the previously defined types of recitative. This table shows the total number of measures of each type of recitative which combined make up the struc- ture of The Medium. Since dramatic recitative is defined as a grouping of other types of recitative, the term has not been included in Table I. However, the recitatives within sections of dramatic recitative are listed individually.
Diagrams of dramatic recitative will appear later in this chapter.
TABLE I
INDIVIDUAL TOTALS OF RECITATIVES USED IN THE MEDIUM
Types of Total Number of Recitative Measures of Each Type of Recitative
Ensemble stromentato recitative...... 59 Solo stromentato recitative...... 468 Secco recitative...... 152
Arioso recitative...... ,...... 173 Parlato or declamato recitative: a. Spoken dialogue...... b. Conventional vocal notation...... 6 c. Sprechgesang...... 2 Instrumental recitative...... 338 Silence ...... 6
Total 1215
Table I is important to the analysis of the structure
because it allows one to see the predominant types of 16
recitative that are used in The Medium. Two kinds of reci- tative are clearly predominant: stromentato recitative (468 measures) and instrumental recitative (338 measures).
Symbols for Analysis of Dramatic Recitative
An explanation of the abbreviations and symbols used
in the diagrams of sections of dramatic recitative is as
follows.
a. Encircled numbers--the system of numbering used in
the G. Schirmer edition.
b. Numbers (below the line)--the number of measures.
c. Intro.--introduction (recitative).
d. Inter.--interlude (recitative).
e. A, B, etc..--passages of arioso recitative.
f. a, b, etc.--passages of stromentato recitative.
g. Recit.--recitative
h. Stro.--stromentato
i. Par.--parle
j. Inst. -- instrumental
k. ' or " (after a letter)--a variation of a melodic
theme.
1. Titles of sections of dramatic recitative are
derived from the opening phrase or the central idea of each 17
section for the purpose of reference in this analysis.
Menotti has not titled any of the sections.
m. The proper name after a title indicates who sings the section.
Analysis of Dramatic Recitative
Sections of dramatic recitative are the predominant means by which ideas or moods are introduced into the devel- opment of the plot of The Medium. Another method of inject- ing moods is the use of motifs within passages of instru- mental recitative. This use of motifs will be discussed in
Chapter IV. In the discussion of dramatic recitative, fre- quent references will be made to the characters and plot of
The Medium; hence a short synopsis of plot follows.
The Medium is a music drama in two acts, with all the action taking place in the living room of Madame Flora's apartment. Madame Flora, a professional medium, is better known as Baba to her daughter, Monica, and Toby, the deaf mute who is a member of the family by adoption. The story revolves predominantly around Baba, who is tragically caught between two worlds, the world of reality and the world of the supernatural, in which she cannot believe. The struggle for inner peace eventually unnerves her to the point that she gives up her profession and, in a state of rage, murders Toby.
Nine sections of dramatic recitative are found in The
Medium: five sections in Act I and four sections in Act II.
A brief description of the form and a statement of the mood, the two components of a section of dramatic recitative, will be given after each example of dramatic recitative. Figure 1 is a diagram of the first section of dramatic recitative in
Act I.
inst. secco inst. to. A ext. recit. inter., A ext.i 11 6 16 1 1
Fig. 1--"Where, Oh, Where"--Monica (Act I, page 2)
The two A passages shown in Figure 1 are two verses of a strophic song interrupted by a short passage of secco recitative. This song establishes the first mood in The
Medium, that of the happiness that Monica and Toby find when they are alone in their world of make-believe.
secco secco inst. rBI re B cit.inter. '3 82t 2
Fig. 2--"I Shall Be Your Servant"--Monica, (Act I, p. 5) 19
Figure 2 is also a strophic song form, but only one verse is sung. The verse begins three measures after Q a second verse is suggested at fourteen after(D, but it never materializes because of Baba's entrance (sixteen after
Q). In this section Monica expresses her love for Toby.
a (a)1 A (A) a(a) (a?) a (a?) 5 7 3 6 3 3 4 15 (a') (A) 3 7
Fig. 3--"It Happened Long Ago"--Mrs. Gobineau (Act I, p. 17).
Figure 3 is a combination of two themes, A and a. Theme a is a dual theme in which one melody is presented in the voice (a descending triad in root position), and the other melody is presented in the accompaniment (three repeated tones and then up the interval of a fourth or fifth). These two melodies first appear together and then separately (indi- cated in the diagram as a--voice and (a)--accompaniment).
Theme A is first stated with the voice and accompaniment together; thereafter, it returns only in the accompaniment.
By grouping the small a's ( Q to ( ) into one passage, the form of Figure 3 outlines a ternary form: into A b A. The 20
mood of grief is created by Mrs. Gobineau as she relates how her child died.
. T A 0inst1iter. Ati B A"' B loV 1 13 12 13 6
Fig. 4--'"Mummy Dear"--spirit voice (Act I, p. 27)
The form of "Mummy Dear" is A: B - A: , which melodi- cally suggests a traditional dance form without the return to A. As was the case in Figure 2, the form is incomplete because of an interruption. In Fig. 4 this interruption is caused by loss of contact with the spirit world. Menotti has written out the repeat of A theme (beginning eleven after
U ), making slight changes in and extending the melody.
The return (A"--one measure after 9 ) shows an even more radical variation of A theme than does the repeat; neverthe- less, it maintains its basic melodic character.
This section (Figure 4) suggests "hope," a mood reflected in the longing of Baba ts guests for the return of loved ones.
'David D. Boyden, "Melody and Simple Forms," An Intro- duction to Music (New York, 1956), p. 34. 21
6 inst. inst. vocal intro. A B A B intrinter.IB' ext. 1 1 7 5 71 2 10
duet stro. dec. stro. inst. A? B ext. recit. recit recit.1 inter. 2 5 4 5 14 1 16 2 A' BI ext. 5 4 5 37 A 12
Fig. 5--"Black Swan"--Monica and Baba (Act I, p. 48)
The "Black Swan" section is a binary (AB) form2 repeated several times with some minor melodic alterations.
The two measure vocal interlude (thirteen after ) serves as a substitution for A. There is an extended interlude
( G to ( ) because Baba hears the spirit voice and becomes frightened. The final return of A (at C ) is Monica's attempt to calm Baba. The mood of repressed "fear" is domi- nant in "Black Swan.1"
inst. intro.. A B A B ext. 1 4 4 4 3 3 Fig. 6--"Dance the Waltz"--Monica (Act II, p. 60)
2 Ibid., p. 34. 22
"Dance the Waltz" is a simple binary form (AB) with a short extension of the last occurrence of the B theme. The mood is a re-creation of the "happiness" mood that was at the beginning of Act I.
secco ,7 B a A C BtI At recit. 3 3 4 4 2 5 2 0 "Dance the Waltz" inst. recite. C 2 5
Fig. 7--"Monica, Monica"--Monica (Act II, p. 63)
Although the melodic lines vary considerably in Fig. 7,
"Monica, Monica," there is a unity throughout the section because of the repetition of the waltz rhythm. The form begins in a type of rondo (A-B-A-C) which is followed by a variation of all three themes (A', Bt, and C). (a, before
0 , is considered an interlude which is not part of the form). The recurrence of the "Dance the Waltz" theme ato relates Figure 7 closely to Figure 6. However, Figure 7,
"Monica, Monica," is considered a separate section because the emphasis is on the idea of the "love" which Toby feels
for Monica rather than the "happiness" mood that was
expressed in Figure 6. 23
The form of Figure 8, "Madame Flora," begins as binary and continues to alternate a and b themes until ) , at which point a variation of b is repeated six times (the declamato passage, five after substitutes for b theme).
dec.? a b aIrecit. a bl bl
b" b b" b" b
Fig. 8--1Madame Flora" (Act II, p. 88)
In this ensemble section (Fig. 8) the mood is that of
"hope" as Mr. and Mrs. Gobineau and Mrs. Nolan beg Madame
Flora to allow them to have a seance.
31,31 inst. stro. recit. inst. intro. a b c ext. ext. b inter.A 2 8 4 7 4 4 1 8 3, inst. (Bl. Swan--A) secco e I ext.Iinter. i par.1 par. recite. 4 6 12 2 3 1 2 1 6
Sinst.1 inst. -nter.inr, 6 11, AI i "(t ,2
Fig. 9--l'Afraid, Am I Afraid?"--Baba (Act II, p. 102) 24
Figure 9 is the longest and most unique section of dramatic recitative in The Medium. The only thematic repeti- tions used are theme A (Babats prayer for God to help her) and a recall of the "Black Swan"--Theme A. With these two exceptions, the form of "Afraid, Am I Afraid?" is through composed. The mood in "Afraid, Am I Afraid" is "fear."
Table II shows the total number of measures of recita- tive used in The Medium and the totals of the individual types of recitative that make up dramatic recitative.
TABLE II
INDIVIDUAL TOTALS OF RECITATIVES USED IN SECTIONS OF DRAMATIC RECITATIVE
Types of Total Number of Recitative Measures of Each Type of Recitative
Ensemble stromentato recitative...... 39 Solo stromentato recitative...... 96 Secco recitative...... 10 Arioso recitative...... 114 Parlato or declamato recitative: a. Spoken dialogue...... 11 b. Conventional vocal notation...... 4 c. Sprechgesang...... 2 Instrumental recitative...... 14 Total 290
Table II reveals that dramatic recitative comprises
23.8 per cent of the total structure of The Medium (1215 25
measures). It also reveals that dramatic recitative is pre- dominantly composed of arioso and stromentato recitative.
Summary
The following statements and lists summarize the impor- tant points discussed in this chapter.
1. Sections of dramatic recitative comprise 23.8 per cent of the total structure.
2. Dramatic recitative is predominantly composed of arioso and stromentato recitative.
3. There are nine sections of dramatic recitative in
The Medium. These sections contain the following moods and forms as shown in Table III. 26
TABLE III
THE MOODS AND FORMS WITHIN SECTIONS OF DRAMAT IC REC IT AT IVE
ACT I SECTION MOOD FORM
"Where, Oh Where" happiness strophic
"I Shall Be Your Servant" love strophic
"It Happened Long Ago" grief ternary
"Mummy Dear" hope dance
"Black Swan" fear binary
ACT II SECT ION MOOD FORM
"Dance The Waltz" happiness binary
"Monica, Monica" love rondo
"Madame Flora" hope binary
"Afraid, Am I Afraid?" fear through composed CHAPTER IV
THE USE OF LEITMOTIFS IN THE MEDIUM
The term "leitmotif" will be used to designate a melodic or rhythmic fragment (or the two combined) which suggest a character, an idea, or an object. The character, idea, or object represented by a leitmotif has been determined by examining the relationship of each leitmotif to the text or stage action which occurs in conjunction with the leit- motif. Names have been assigned to leitmotifs based on the character, idea, or object with which the motif is associated.
In the following discussion each leitmotif will be presented individually and will be accompanied by graphs which will give a visual.picture as to where and to what extent each motif is used in Act I and Act II. Information regarding the construction of and the symbols in these graphs is given in Chapter II.
Nine distinct leitmotifs occur in The Medium. Three motifs originate in instrumental passages outside of dramatic recitative, five originate in vocal lines of sections of
27 dramatic recitative, and one originates as stromentato reci- tative outside of dramatic recitative sections.
Fear Leitmctif
The first and most important leitmotif, in terms of fre- quency of use, is shown in Figure 10.
Fig. 10-"Fear" leitmotif, Act I, measures 1-2 a) Treble portion of the leitmotif b) Bass portion of the leitmotif
The "Fear" leitmotif occurs in the vocal line only twice throughout The Medium. Both of these occurrences are in Act
I (shown in Table IV). All other occurrences are in instru- mental passages, or they occur as accompaniment figures in conjunction with vocal lines. Figure 10 is considered a leitmotif because, when used in conjunction with a vocal 29
line, the text implies the idea of fear, as will be shown after a discussion of the melodic and rhythmic construction of the leitmotif. The only complete melodic statements of the "Fear" leitmotif (that is, the presence of the melodic contours of the treble and bass figures as shown in Figure
10) occur in the overture of Act I (five statements: two statements in measures 1-4, and three statements in measures
17-22), in the overture of Act II (two statements in measures
1-4), and in the closing moments of Act II (two statements in measures 15-18 after Q ). Diagrams of the melodic intervals contained in these nine complete statements of the
"Fear" leitmotif are shown in Figure 11. The two statements in the overture of Act II (measures 1-4) are exactly the same as the first two statements in the overture of Act I
(measures 1-4).
a OPS
of33
9: 017 0 30
b OP5 9 N0~Op ;,3 M9\0 0 'wo
9: O7 { 0
C OPS M3 \00 0m3 9: om7 { 0 d 0P5 Orn \00 4 M'3
oet7 2: 0
P5 e 0 m3 No 0 ,ml~ 27: 0M7
f same as #1, Act I
g same as #2, Act I 31
h
0 ON2.
0 9 OO
OPS
M3 \, P
OT9 0
Fig. 11--Diagrams of complete "Fear" leitmotifs a) Act I, measures 1-2 b) Act I, measures 3-4 c) Act I, measures 17-18 d) Act I, measures 19-20 e) Act I, measures 21-22 f) Act II, measures 1-2 g) Act II, measures 3-4 h) Act II, measures 15-16 after i) Act II, measures 17-18 after
Examination of these nine diagrams shown in Fig. 11 reveals the following information regarding the melodic structure of the "Fear" motif.
1. The "Fear" leitmotif is composed of two distinct figures (in the diagrams one is the treble figure; the other is the bass figure). 32
2. The fact that intervals in one figure differ from corresponding intervals in another figure indicates that the melodic contours of these two figures are important rather than their exact intervals.
Figure 12, which occurs in the overture of Act I (meas- ures 23-24) directly following the last complete statement of the "Fear" leitmotif (Figure 11 #5), substantiates the importance of the melodic contour.
Fig. 12--"Fear" leitmotif, Act I, measures 23 and 24
This figure is actually a dual statement of the treble por-
tion of the motif shown in Figure 10. Both the treble and
the bass figure of Figure 12 outline the contour of the treble
figure of Figure 10. However, both figures in Figure 12 con-
tain different intervals from each other and from intervals
in Figure 10. 33
With the exception of the complete statements of the
"Fear" leitmotif shown in Figure 11, all other uses of this leitmotif throughout The Medium (including Figure 12) involve only a portion of the complete melodic figure (for example, the treble portion of Figure 10). However, it is these seg- ments in context that cause the motif to be identified as suggesting fear.
Not only are these segments found as shown in Figure 10 and Figure 12, but also the melodic contour of the bass figure in Figure 12 is used in a variation of the original, an inversion of the original, and a variation of the inver- sion, as shown in the diagrams in Figure 13.
~N ~O 00
b
Fig. 13--Segments of the "Fear" leitmotif
a) Original b) Variation of original (the primary difference is the center interval) 34
C o /
d 0
Fig. 13--Segments of the "Fear" leitmotif--Continued
c) Inversion of original d) Variation of inversion (the primary difference is the center interval
All four diagrams in Figure 13 contain the melodic con- tour down-up-down, or the inversion, up-down-up. Thus these four diagrams in Figure 13 will be the contours for melodic
classification of figures derived from the original treble figure of Figure 10.
The bass figure of Figure 10 (a single interval down) is also found in inversion (a single interval up). 35
One other melodic figure is considered a part of the
"Fear"' leitmotif in that the figure is used in combination with one of the contours of Figure 13. This figure is a four note ground bass (or a variation) in which the tones alter- nate in fourths or fifths. This figure and its two varia- tions are shown in the diagrams in Figure 14.
a. 0 PS 0 0 P5 0 PS
b. 0 P4 .0P ,OPq. P+ 0
C. PS 0 P4
d. #"3
Fig. 14--Ground bass figures used with the "Fear" leitmotif. a) Ground bass b) Variation I c) Variation II d) Variation of II (the upper interval may vary, but the contour remains the same, that is, three descending quarter notes) 36
The ground bass figures in Figure 14 are considered
parts of the "Fear" leitmotif for the following reasons.
1. The first time one of these ground bass figures
occurs in Act I (Figure 14-b at 0), it is used in conjunc-
tion with a statement of the variation of the original treble
motive which suggests the same relationship as is shown in
Figure 11 (that of the treble figure over four quarters in
the bass). This combination of figures (beginning at () is
repeated six times.
2. The first three times that a ground bass (Figure
14-a, b, or c) is used in conjunction with text in Act I, the
text implies fear (see TABLE IV).
3. When the ground bass (a variation of Figure 14-a)
first occurs in Act II (beginning at Q), it develops into
the actual statement of a portion of the "Fear" leitmotif
(five after ®) like the bass figure of Figure 11.
4. The last four statements of the treble portion of
the "Fear" leitmotif in Act II (beginning at 9 ) are in
combination with the ground bass figure Figure 14-c.
The ground bass figures in Figure 14 do not always occur
in combination with the treble figure of the original "Fear" motif; however, once the idea of fear has been established 37
in connection with the ground bass, the ground bass is then considered capable of carrying the idea.
The rhythmic figures of the "Fear" motif are as impor- tant as the melodic figures. In fact, the rhythmic figures are of such a distinct nature that they are used often times independently of the melodic motifs. The basic rhythms are contained in the examples shown in Figure 10 and Figure 12.
The rhythms taken from Figure 10 are as follows.
a mj
Fig. 15--The "Fear" motif a) The rhythm of the treble figure (Figure 10) b) The rhythm of the bass figure (Figure 10)
As was the case melodically, these two figures (a) and
(b) are used in combination and separately. Furthermore, example (a) is varied in the following ways. a Jci
S D E ' #- ci
Fig. 16--The "Fear" motif a) The original rhythm b) Variation 1 c) Variation 2
In addition to the variations shown in Figure 16, the following segment is also used.
arm 3
Fig. 17--The "Fear" motif a) The original rhythm b) A segment of the rhythm 39
A second rhythmic figure is used both as a ground bass and also as a treble figure. This rhythmic figure is taken from the bass figure of Figure 12, which is simply four quar- ter notes (or a diminution of four quarter notes, four eighth notes).
a 40
b
Fig. 18--The "Fear" motif a) Ground bass b) Segment 1 c) Segment 2
Throughout Acts I and II the "Fear" leitmotif, or a
rhythmic or melodic portion thereof, occurs 362 times (see
TABLE V). These leitmotifs occur in one of the following
ways.
1. The statement of the text implies fear. 40
2. Fear is implied through the subject being discussed.
For example, in the second passage containing the "Fear" leitmotif in Act I ( ® 1-15), Baba relates how she fright- ened Mrs. Campi into paying her the money she owed Baba.
Thus, the general subject of this passage is fear.
3. The "Fear" leitmotif occurs in certain instrumental passages which sound in conjunction with action occurring on stage. Duririg these instrumental passages, fear is implied by the atmosphere created on stage by the stage action.
TABLE IV contains all occurrences in Act I of the "Fear" leitmotif in conjunction with the text or the stage action in order of occurrence. In examples that contain quotes of the text (shown in the first column of TABLE IV), portions
of the text are given which precede and follow the actual
sounding of the "Fear" leitmotif. This additional text is
included in order to clarify the idea that is being implied
when the "Fear" leitmotif occurs. The exact portion of the
text under which the "Fear" leitmotif occurs is indicated by
the underlining of that portion of the text. 4'
0N 0) -O CH 0 to ...... r-H0H H H('H 0~ C) 11 Co) 0
4-) Q) H- A H
C C H 5o HH4DHC 0 w 0 '0 -H
H 1-H H CH I It) -H Ha0a)000 -P
c 5 :4-) H00 c4 b0
H H * 0H CH) 4D Cn PCI >n>C -H -H 0 - 0 0 0 4-P 0-P) *HH -H 1 >H r .H - P0. -d 0H co -PC 1 - -H 9ocCcQw -P H0 -H -H 0 -PQ)5- 0 c H1 H H -H H-I
C0 4-)C '00-P.C z*C) 0 4-)H 4C- 4-) - 00 H0 o rd CH co 44 CH CfD 9-,C (D DA U ) C -H H 0i 0-a) b ( > aa -P CO CH0
C-) o1 -OP U) -H
4- O 0C CH CFA 0 0 C) 4-D CO - CO C o Sa) CH 4-D C)H 43 c~ ) 0 0. --0 o -o ~o -A" Ho-C H 4-H H0- 0 ~:z C o0 H(D 4 b.0 biD*Hr 0 0'Ha) -P0C0
o0 H H 44- " - o o om % 1rirs-5- H O z l 4- (D o H 0SCO E -O d 0 CO 0 4H-(D 4-) G)CQ tH 4-D 4- U) QC Ol 041 00a) -P0 0 0010 0 U) 0 co 8 b o 1-4 0C m o CTI cli 0) " H0D H 4D U) r~C - d-i H c -H c10-H 0 ro CO rQH(D D 0 a) C) O~ PQ pq M (D4 U) CO 11 11 -IT 4) 42
0 CH 0 0 C0 0 (Y' C,) 11 I
H CH 4-) ) H4- d p0CD 0HH H o
>H r- t ea A o H H CHf4-) 0
) CH4o r. 0 tOCO- 4D 0 'd-)CH 0 '0{) L(\+D +DCH \O -H Q )00 0 " c "Hp 4- c r H co 0 HY) cd m) 0 )Ofz\ 4- rd l 4) t A 0 _ U4 )0 U) UH HCdH:
09A o Cd C d 4
4H 0)0C0 c-H 4 O3H 0 -P 0 00
0 CH- Cd fl
0 4 0 -) ,- > 0 (1 -0) C- oco. C)\ 4-f) i Co C1d)0 to Hq - * o si HCH H-) .a Y ) 5 Hr- : ., c H) o rdco CO4 -X 0 ) HCdH J-)4-)Cd0 H d 0 oU H J U -CH U) OCH CO 4-D F4 o O u0O
-HH-' o i H 0 q S-1 (L) q -i iCO 4-Dp
0 4 d 0 co4- 0 1 o 0 *H*H od Cd- ()0 .Ho*0 0HCd0 -) U)O0 -I H -H Ocd o OI~C? cH (\ 4) 4-) -f) U) H - 0 4)0U) W P- 4-D o 0 () z 1 )0 COW D -D) )00 )I 0 0 >f4) z ) o -(", -.- ,4HHAH -H - H OQ) 0) 4) '-001 0 O 4- 4-)faD O Q 1 0t ()1 -f) 4CdH H C-) M(1)UO4) 1I wC f)4- *HI0 -1 04H 1 o# p 00 () -) 10 +)0(1)f)I0 41 U 0 0-H-cuHU) r cf) (1)cooC -0 DCrH 60 CHo r~0 0 O CU -0) -1 r 0 1O0 Cd a)S 0 COO 0H 00Cd Of) f)J d - -P 10 O0 4)>HCd U)C- C CdO1 () -H W (1U)0U) 4-P -Df4-D- Wd4) rH1 4 C
0CdO~4~O 0 A-0HH- d ~0C- -0 Z: 0-H ~A ~
-W
d I 43
0 UO CH C00 cc" (Y'C-T P-4o CQ
H CH coU) r*H -)r 4- 1) 4-CH H 0 U)0 0
CH 4-D
() H cH H H c -C) 0 r l (1)o 00 0 4 -I)Io
4-cd*1- ) t(Q) 00 H O0 4CH (1) U) IJ U) CH U)Nk) U) CH U) CH 4-0 1 H 1 H o o co U) U) U) CH. )U) C) 0 Wc 3 c3
0 101H0 0o C C 4-) 4-)-P4-) 'H ~O0. 0 0 0 0 00 b)c60.0 u 0 0
CH co
H 0 4-) r40 u 20 /Q Q o 0 co H I tord .H -) W I\ I I I HI co z cd o co H U )CHco [a mUCH U) CH coCH
-vr-0 b.0 5--i'
4-D0 5 (U *)c 004-0 44-)3H4-D c3Cd-) 4-)c3SH -HU(0)PU)4 U) -)0 o - 4d-) o o c CH
oH *H0 5 5 CH0-0 O-D -P C 5- C 4-p S -) U) 4' <4'e C cTC(< o o U) 0 '0 -) a) H 0 4cH H - -00 044 50c 0r-j -) 0CO 440 z i0c0- H U) C-:) 0: - S 0 C)H0 x i z ~ *09- U)4-D 0 4 CO3 Scd o r -P -P -- 0 4-D(1 1 a w0 - 0 *5- - OCH 0 HI rH rH rH rH 44 0 0 0H 0 'to ON O mY cc ci 0 crc mc 't -It -4 P- CO H CH 4-) CHf4) H 4C\H H D CH 4-) 0~440-) 0 0 z Q) H tr t 0b.0C -) CH Cu (1)( 0 0 0 01 04-CH H ) ) CH U)CH UCH U) CCH U)CH 0 -- co. H0 0 0 ho o 0 4 0)(1) c-) *H-C- HoH -- U) -H H H rO* - 0 l c c 10 0 1 +D t ii ci ci 4-P COf4-) 0 o 0 CD-H -0 (1) -HH HI - 0 0I I IooI H o- -P S (1) e H -)H H ci) Ii(\2 04cii ciii. cii 0rU)C H U )C HCH * H H cio o co z o z - - - 0 , ciito 4-JM4 H>I Si0 *HCH - 4-) c- 4-) 0 c 00-O SI40 (1) 0- H4 0-0 P 0HCOO 0 HHo(1 0 0 i 4-)0 l ii..H H 4 U) 0) (1)Ciic17-0 00 (D -0 CHI -0 P j Scoi a)0 m CH H0ii m HCH l 0P4 :a) ii ON 0 H C\ 45 0 o m 0 .0 C' C)CO to 4-) CH- 0 0 0 00 0 4- 1CH m\IOtHOIJ-)A 5:: -C a 0 ^C N0II co a)-HN-().a) C\. I C\2 0 0 - *c DC1310m.H 0-\ H - C2 I 0 02 1 HON Qd o I O' -H 1H 10I o 4J 40 4- rqICd o-r CC 0 C Cd- - (D r0 (t-0 Cd 0 OED 00 i 0 (Db -03 H m0 4 100 H + D cmoN cdoOCO - 0 CH 02 00 0 0H 044-) 4 OOC -A02 ~-H cd: 4-34 1 00 ___ C 0 -0H (1)0 C -r-am rA CHH 46 0 40 CH 0 ex c 0 CfO CH co) 0HOfr OPC0 0 I14-) ) CH H43 O C O -H \ I Cd CH0 r1 C 00 *H \ f) o *fI .... : (Dof \C C O4C CCHDHCC CC H )0(1) () 0 .. c +D U)COtD f)- i 9 C ) 001 ) Q\ d- * CdHH 4-) +D 0o o o doC CH 0 CH () H (f WC *UH. C CH 0 U)I CH- 0 ) %-0 . 0 O -) a) 4-) bOCCd H-0d b-0 (1)-H i H i M -H -3)-H :i 4-) (D ~4-) O() O4-)1 - 0 H H c o (2) 0 4-) 4-3< H - 0 ( u 4 -) 1C co m cd d *H*H SH H 0 b co -0-qH C Cd CD CACd 5 d f).Z 0 b0 f-f 0H H Cd.0 - f)-CH0 A 0 o Of) 0r-i D 00HQ) c cd X 4-) ) -H"S a)f4-DCd -r-;> Cdp .- 1 E- 0 0 0 0 (1)000D o 4- o 0 - ) m ' (1)C-) 0 Cd -H ) 0 ,CH m c 04 4-) 4-) Cv 47 Lo CH 0 co 00C L, ca) 0t (-U) ) 0 -:CH*H 4 o -H4 0 O CI --:- )0-C H 1 .1 *H0 C0 \0QI I 4-)CO P-S O& N - r-H% IH -H 0 4-D 4-) 4-) e 4-) c 4D a)pC 1\0 i CCa)) 0 SOICa) W CH U H) CH-U)HCH jH " CH 0 9- CH o H- I 0 4-) -P 4-D r- I 4-H 0 Scd ,.44CH - co 0 C 4-D 1-4 0 C H0CH 0H C' H0 H 0 4-) p44-) 0 c~100b0 C O Hr 00 H OH C . -H 0 0~ o -*H ci 4)4-) 4-) 0 4-) H4-O0 CI) 0 01)4-)o Cf) co 0 -r-;> q Cr) Cii H Nt- Table IV shows the relationships between text (or stage action) indicating fear and melodic motifs (or portions thereof) which occur in Act I of The Medium. The relation- ships (in Table IV) between text (or stage action) indicating fear and the melodic motifs serves as a basis for designa- ting "Fear" as a leitmotif. A comparison of these relation- ships in Act II can be made by comparing the "Fear" leitmotifs shown in the Master Leitmotif Graph, Act II (found in the Appendix) with the score of The Medium. Figures 19-a and 19-b are graphs showing the melodic and rhythmic uses of the "Fear" leitmotif in The Medium. Examination of Figure 19-a and 19-b allows one to see that the "Fear" leitmotif is used continually throughout both acts of The Medium. With only three exceptions in Act I ( to , 12 to 13, and 201 to 21 ) and two exceptions in Act II ( 4 to , and to 26) there is at least one occurrence of the "Fear" leitmotif, or a portion thereof, in every minute throughout the music drama. Based on the total time of this performance of The Medium (58 minutes, 52 seconds), the "Fear" leitmotif occurs through- out 88 per cent of the time-value units of one minute.1 1The percentage (88%) was determined by dividing the total performance time (3532 seconds) minus the exceptions (420 seconds) by the total performance time (3532 seconds). 49 *0 t 3 45 * *7 ------. p- owl ih AP Hk wimp 1 1 141u -A. I S.*1* .2 mom I TM -fl- 0 177 16--I ------,-- LIM, --II Itu-7W7 wftwmoft; ,,mini ,at - *&+ *2 1 + ++A* 3l I1j T TT N I I I II a - - 60 *1 AS *4 *i *2 Ate 5,0 b AIN S+9 *14)(3 *1 *3 FT (no a 2524*J +A SN 1rI Z ME4 a * * *6 A A AOOR% jVW 25 6S1S *5 42* 2 41 + 3*t *7* I SIWO Fig. 19--Melodic and rhythmic uses of the "Fear" leit- motif in The Medium. a) Act I b) Act II Definitions of symbols: The "Fear" leitmotif 51 The treble portion of the "Fear" leitmotif The bass portion of the "Fear" leitmotif A figure with the same melodic contour as the treble portion of the "Fear" leitmotif or a varia- tion of this contour A figure derived from the first two notes of the treble portion of the "Fear" leitmotif The inversion (or a variation of the inversion) of the melodic contour of the treble portion of the "Fear" leitmotif AA These signs, found below the staff, indicate * a rhythmic patterns (as can be seen in the examples * * shown below). The numbers following these symbols + A indicate the number of times that the rhythm occurs. A 52 a 9 9 i i r ~ I r 1 L I I I _ 99, , g NMII 13T . a I I I - a a I I a a 2 . I 71 I- I C 17 6v I,, p, '7 1 9 yo 41 MN- 53 b TIPv, I I t 0 Fig. 20--Concentrated areas of "Fear" leitmotifs a) Act I b) Act II 54 Secondly, graphs 19-a and 19-b show the areas in which the "Fear" leitmotifs are most concentrated (concentrated areas are areas in which two or more forms of the "Fear leit- motif sound simultaneously or alternate for approximately 30 seconds or more; the shortest passage is 28 seconds; the longest passage is one minute and 12 seconds). These con- centrated areas of "Fear" leitmotifs are indicated in Figure 20-a and 20-b by darkened areas on the staff. Figures 20-a and 20-b are duplications of graphs 19-a and 19-b, but 20-a and 20-b show only concentrated areas of "Fear" leit- motifs. The six occurrences of concentrated areas of "Fear" leitmotifs in Act I and the three occurrences of concentrated areas in Act II show repeated emphasis of the idea of fear. The last concentrated area in Act I occurs during the "Black Swan" section of dramatic recitative. This section of dram- atic recitative contains the most important climax in Act I, and the concentration of "Fear" leitmotifs is a primary fac- tor in creating this climax (the other factors involve another leitmotif and tonality, both of which will be dis- cussed later in this thesis). The last concentrated area of Act II, the climax of fear in Act II, follows Baba's act of killing Toby. 55 Table V is derived from Figures 19-a and 19-b. This table shows the number of times the melodic "Fear" leit- motif, or a portion of the motif, is used in both Acts I and II. TABLE V MELODIC USES OF THE "FEAR" LEITMOTIF IN THE MEDIUM Symbol Melodic Contours No. of Times Used Act -I Act II Total Act 0i A0T\1.013 2 15 17 0 0 The symbols used in Table V correspond to the melodic symbols used in Figures 19-a and 19-b. 56 TABLE V--Continued No. of Times Used Symbol Melodic Contours ______iiali --Act I Act II Total ------. 31 50 81 0-. 0100 001 ! 5 - 19 44 63 9A 0 P 6 - ; NO 65 90 165 Totals 124 209 333 * The symbols used in Table V correspond to the melodic symbols used in Figures 19-a and 19-b. Examination of Table V reveals the following facts: 1. The most used melodic portions of the "Fear" leit- motif are the ground bass figures (156 occurrences) shown 57 in #6 of Table IV. The ground bass figures occur 65 times in Act I and 90 times in Act II. 2. The second most used portions of the "Fear" leit- motif in both acts are the melodic contours (81 occurrences) shown in #4. These figures (the original contour and its variation) are used 31 times in Act I and 50 times in Act II. 3. The third most used portions of the "Fear" leit- motif in both acts are the melodic contours shown in #5 (63 occurrences). These figures (the inversion of the con- tour and its variation) are used 19 times in Act I and 44 times in Act II. When the preceding points 1, 2, and 3 are considered collectively in conjunction with the other totals given in Table 'V, the fact can be deduced that all forms of the "Fear" leitmotif (except #3) are used more in Act II than in Act I. Thus, the idea of fear is more dominant in Act II than in Act I because of the increased use of the "Fear" leitmotif. This point remains consistent in Table VI, which shows the rhythmic uses of the "Fear" leitmotif (the rhythmic totals given in Table VI include the uses of melodic "Fear" leit- motifs). TABLE VI RHYTHMIC USES OF THE "FEAR" LEITMOTIF IN THE MEDIUM - No. of times used # Symbol Rhythmic Motifs ______Act I Act II Total I 8 13 2 4 10 19 29 3 A 6 12 18 4 r ,4 5 05 6 60 126 186 7 29 32 61 8 r19 20 39 Total 141 22122 36235 The symbols used in Table VI correspond to the symbols used in Figures 19-a and 19-b. Example #4 is a variation of example #2. Example #8 is the counterpart (in compound time) to example #6 (in simple time). This rhythmic figure (#8) is considered a "Fear" leitmotif only when it occurs in conjunction-with, a melodic "Fear" leitmotif. 59 The number of occurrences of rhythmic figures given in #6, #7, and #8 in Table VI corresponds to the number of, occurrences of melodic figures given in #4, #5, and #6 in Table V. There is no variation between these rhythmic and melodic figures because the melodic contours are the only basis for identifying these as "Fear" leitmotifs. However, a comparison of the number of occurrences of the rhythmic figures in #2, #3, and #4, in Table VI with the number of occurrences of the comparable melodic figures, #2 and #3 in Table V, reveals that there are more rhythmic uses of these figures than there are melodic uses. The rhythmic figure in #2 and #4 (a dotted eighth and a sixteenth) and in #3 (a sixteenth and a quarter) in Table VI makes these two figures identifiable regardless of the interval relationships between tones. When the total of all forms of the rhythmic "Fear" leitmotifs (362 occurrences) is compared. with the total melodic occurrences of the "Fear" leitmotifs (333 occurrences, Table V), it can be seen that there are 29 more rhythmic occurrences than there are melodic occurrences. These additional rhythmic uses of the "Fear" leitmotif place added emphasis on the idea of fear, which is stressed through- out The Medium. 60 Spirit Leitmotifs In order to understand the significance of the "Spirit" leitmotifs (shown in Figure 21 and Figure 22), knowledge of certain aspects of the plot of The Medium is necessary. Therefore, a brief synopsis of the portion of the plot that affects these leitmotifs follows. In Act I of The Medium Mrs. Nolan and Mr. and Mrs. Gobineau arrive for a seance appointment with Madame Flora (Baba) in order to contact the spirits of their dead children. This experience is the first that Mrs. Nolan has had with a seance; she is afraid, but she desperately wants to contact her daughter, Doodly, who has only recently died. Mr. and Mrs. Gobineau have had previous seances with Madame Flora. They make frequent visits to her in order to have fellowship with the spirit of their baby son, Mickey, who drowned in a foun- tain. The guests are not aware that Madame Flora is a fake. Her daughter Monica creates the voices of Doodly and Mickey that are heard by the guests. Toby, an adopted member of the family who is unable to talk, handles the lighting effects and slips around in the darkened room and touches the people, making them think that they have been touched by their chil- dren. During the seance occurring in Act I, something or someone touches Baba's throat. She becomes frightened, stops 61 the seance, and makes the guests leave. Baba accuses Toby of touching her throat in order to frighten her, but she is not sure that it was not a spirit, and Toby will not give her any indication as to his guilt. Throughout the drama Baba is haunted by the spirit voice of Doodly, originally created by Monica, but now only heard by Baba. She can not decide whether Toby is trying to frighten her or if she is losing her mind. In Act II she finally goes insane with fear. Two leitmotifs are used in conjunction with spirits. These leitmotifs are different melodically, but because of the similarity of the subject (spirits) with which each motif is associated, they will be considered together in this unit termed "Spirit" leitmotifs. "Spirit Leitmotif I" is a melodic motif that is found in the vocal lines, in the accompaniment to vocal lines, and in instrumental interludes. The basic melodic characteristic of this leitmotif is that of a descending chromatic line consisting of three to seven tones (the inversion of this motif; an ascending chromatic line consisting of three to seven tones is also used). The specific ideas attached to this leitmotif are dependent on the text or stage action used in conjunction with the motif. The text or stage action implications are as follows. 62 1. The leitmotif (I) is used in conjunction with text to create a spirit voice. There is only one passage of text that is repeatedly used in this connection, the phrase "Mother, Mother, are you there?" as is shown in Figure 21. Moth- er, moth -er, are you there? Fig. 21--"Spirit Leitmotif I," Act I, measure 2 after 01 When the leitmotif (I) is heard in conjunction with this text (Figure 21), the motif contains four descending chromatic tones. This particular combination of text and motif is important because it forms the spirit voice that drives Baba insane. 2. The "Spirit Leitmotif I" is used in conjunction with text to imply the desire to commune with a spirit. For example, the phrase "Send my son to me" (measure 3 before ®) :implies the desire for communion with the spirit. 3. The "Spirit Leitmotif I" is sounded at the mere mention of a dead loved one (whose spirit can be contacted through a seance). The leitmotif occurs, for example, dur- ing Mrs. Gobineau's statement referring to Doodly's spirit: 63 "Oh, yes, you may even see her" (measures 2 and 3 after ). The leitmotif sounds in conjunction with the words "see her." The leitmotif also occurs within sections in which the gen- eral subject suggests a dead loved one. For example, through- out the section of dramatic recitative "It happened long ago," in which Mrs. Gobineau describes how her son, Mickey, died by drowning, the subject matter dealing with Mickey is suffi- cient to recall the leitmotif. 4. Also the "Spirit Leitmotif I" occurs in instrumental passages in which the stage action is related to the idea of spirits. For example, the leitmotif sounds while Baba and the guests are preparing for the seance (measures 3 and 4 after (D) in which they will commune with the spirits. The "Spirit Leitmotif II" is also basically a melodic motif which is found either in the accompaniment to a vocal passage or in an instrumental interlude. The most frequent use of the motif (shown in Table VIII) consists of two tones a melodic half step apart as is shown in Figure 22-a, but this interval varies in size up to a perfect fifth. In some instances the leitmotif occurs in two or three instrumental voices simultaneously, thus forming harmonic structures. However, the identifying characteristic of this motif is the contour rather than the harmonic structure or an exact 64 melodic interval. Thus figures 22-b and 22-c are all varia- tions of Figure 22-a. a I - I C Fig. 2 2--Spirit leitmotif II a) Basic leitmotif (measure 5 after 1 , Act I) b) Variation (measure 1 after 2 , Act I) c) Inversion (measure 8 after , Act I) That figures 22-b and 22-c are variations of Figure 22-a is supported by the fact that the text or stage action which sounds in conjunction with these variations specifically 65 mentions the spirits or is actually a spirit voice speaking (shown in Table VII). All occurrences of the "Spirit Leit- motif II" imply the presence of a spirit. Table VII contains all occurrences in Act I of "Spirit Leitmotif I" and "Spirit Leitmotif II" in conjunction with the text or stage action in order of occurrence. In examples of quoted text (in Table VII) the exact portion of the text under which a "Spirit" leitmotif occurs is indicated by the underlining of that portion of the text. Table VII shows the relationships between text (or stage action) which implies the presence of spirits (or refers to spirits) and the melodic motifs which occur in Act I of The Medium. The relationships (in Table VII between text (or stage action) implying spirits and the melodic mo- tifs serve as a basis for designating these motifs "Spirit" leitmotifs. A comparison of these relationships in Act II can be made by comparing the "Spirit" leitmotifs shown in the Master Leitmotif Graph, Act II (found in the Appendix) with the score of The Medium. Figures 23-a and 23-b are graphs showing the uses of "Spirit Leitmotif I" and "Spirit Leitmotif II" in The Medium. 66 0 OCH 0C- C'- 0 C 0 CO H HH U) . r-H 4-)0)CH 4) C\(2H44 0 0 w 0 0 H H H H .,CH ro - o a D + 0 4- O11 4-) Fm 0Y CH0 co LC\ w 0too I10 4H-) CH) I 1-f CH- H O 00CH CHOH a \ o o SH0 4 cd I O I I -Pf C (\Mj Cc\ isL HH4 ltr&\CHICQ\0 CdH (-a \ 0r cd H Cd H HZ pNo HO 00 1Dj-p \ -J.. *'I ['0 0 co a) -I o HO 4-)14-)l b.50 0 H '- HZH o U)j c HI 0r4S0 -Si- CH c :DH 4 o C4 g000 Hzd HO , 4-) ) 0 4 4-) )0f) 'H .4( -H 4-< -H;: 4-) 0 0 c43 o -P C a) o0 N a 0 - o C HO~ e 0 -- CH d4 -D m C H -HO 0i - -H U -r CH o 1- Q)4. Cd'0 H U) 'riH 04 -Q0 o ) H 0 (D o> --I U)I H 0 r cO r 0 0 0j -- a)-H 00-H00 0 Q 0a os-~~P, 04J Cd Cd' - c'Oa 0 '91 Hl 4-D -P (D 00Q'Ho 0 (1) 01 f:: H cd 60% rj , : - C5 4- 67 bo H 0 cl--0 0 H IH NI (-----1 --4: 0IOCH 0 CO C\2 twmrm (Y' co cy- (\ YN cN ('\ (n (-C H CH cu) 'H 4-)0)CH 4-) t\ -H C(n\ 'to L- CHD oaU)0H 0 4 H H N 0 tQ)Co0H\ -H sI * I r H -0a- 0 0 4-) 1i ) CHU U) I )H00U 'HSco Im1oCO -oo (- -H og-\ Q- I Io~ CC\CH H H~co a\Ho o-- He o H CH - C CHct*Ho 0 0 a 0 - ci c - p -H -- 0 c5 -P coc 0o cl0 -p 0 HH43;:HO 4 H N H4H H 3H cH -f c C ') cr c co coef H H $:i 0 H H .H 0 P z -Zci- H C- U) HCOCO HH U) 4 D U) U- --, zQ 0 r4 0-PI Ac 10a 0 ~ U O- I" U) c Q)t00 D 0 U43 0 oP0 0a) 0 a)\ S cCH-.i 0 0 .- 0i0 *f U)\ 0 -4 0 OH C H4 co'c -p U)-/ UH . )0 cH III- H H- CO14) )0 -4X H(0U(0 )0 (1) -cd C-i p 0 4-) Co- 01 - - s o (1)P4-) 0_4*H 001 o 0*01Q-91 001100-l 01 OCC U)) -iH .4 H a 4 H O -4U)p0 - o~~0-p o41- i U 4r-)) % ~ (1))C. 0 () c,0 ECii 'HG 0 U)~ a- 3 HC 0 0 U) Hci05 C4H a () U () (1 COO)-p o (0) Hqcs:,H P,0U)U) 4-o4 o H>) D40) U4-D 'HO 41 -to] o 0 (1) 0 0 \10 0 0i 0 0 PHA Co) q o O CH C U) *H 4-)(1)CH 4) (Y\ \N .\ CIO - H 0 00 7-H1 ~HCH '00 tOtj0/o\. -) CH Q-\0)4H) 0 0CC H4-. .r -f I-) I rH4 C4-) -CtI - 4-)-H c-\ L C\CH - H i %H HtoHr- c o C) 4-) o 4-*)*f4A /4-)N. 4-( ./ o U)OCH CO)CCH U)CH U) N CCHC HC co ~ c to cdco 04I-0 c co - CH f)0 Z( H H HHH -H -H 1- - o - 4) CC c OCoIco Co 0 r-, 0 00b ( 0 5Ct -t to w0 4) 0 W( F4I - (f 4- O I I f c 0f cp 0 0 H 0 U) CH CH S :- - w- bo:: f-)f4) 4- )I(0) 0 )CH f-)00 c ri - -(!U)11J-) H q U) 40 b S H CH ) x 01 C P Si - f-)0 r)4) (1f4) bO a0 rH f) a) 4f) 0 '4 0 a Q)4-)4- 0 C o . 0 0 10 < 0 Z -H H CH f4-) U)4 C co 0 0 U)CO 0O 4-O 0 o 4-H(D (D r:! Of) 4- - 5 f()0i TI 0 4) 0 r - 4-D a) .Y) 0-Hm 0 rjP m co H C- -H - 0 0 .0 sH c DC H\ H-H- 69 to H 0 0 bIJCo 0 C'-) 4) ()0CH H (N N' O Q\ t r O 0 U) 001 CH 0OCH ' (Y'C\ 4- 4) I4-)H. CH c 00 CH CHL OON H0 Hw1HQ '\ H H:wH \Q 0 x 4 -D 0 4-3P43 -H r- - Lc'\ tO CH \,O 9q 4--0, 1,V o 00% c -H 0 0 C\ cI 0 0 0 0 0 00 Hi \ .f -j-C -p41(-)g\C - ) . .4- 1 - 4 -o 0 4-1m CCHO CH UQ~C~z~CCO UCH CO CH 0 CH WCOCH F4 EoHco a E CH I SH H H H 0 ) Qa -P co I Io 0 -H HCH p 0 -D4- --- $O 4-D +DC 0 a) l I CH o 0 SCI im 4 cI-O *H-i ;: 10 H-PCH H co - ' -P 0 Eco A-0 F4c *H CI CH cI P0 000 uo " 4-)COf)H-P 0 000 + W-o -0H 0 P - H cd A : : -7 ;: C 0O 0 4 4-D. -Pq 0 0:3: -S4 P z 419-1aO- P4 C i - 0 H CIIdS-1 - 0 m 9A 00 -3 0 rH H 70 7M I I-. !: : ce --.-.- -,.. - 6'" -'-,-e...r.. .n..,. ..e L J Ia3 P, 17 9 &11 71 11T 3*.,00 21 9514-T I q 9# 1 10 k A-I 9 4 9 s , tB ~ iy. 5 Z 9 Fig. 23--Melodio uses of "Spirit Leitmotif I" and "Spirit Leitmotif II" in The Medium. a) I IlAct b) Act II Definitions of symbols: fl"Spirit Leitmotif I" 72 Definitions of symbols--Continued "Spirit Leitmotif I" (inversion) U "Spirit Leitmotif II" (includes all variations) "Spirit Leitmotif II" (inversion) Numbers above the staff--indicate the number of occur- rences of "Spirit Leitmotif I" (or its inversion). Numbers below the staff--indicate the number of occur- rences of "Spirit Leitmotif II" (or its inversion). Examination of figures 23-a and 23-b allows one to see that once "Spirit Leitmotif I" and "Spirit Leitmotif II" are introduced in Act I (four seconds after 9 ), the two leit- motifs are used continually throughout the rest of The Medium. After the spirit leitmotifs are introduced (seven minutes into Act I), with only one exception in Act I (1141 to 115) and three exceptions in Act II ( to 11, 7 to , and to ), there is at least one occurrence of a "Spirit" leitmotif in every minute throughout the music drama. Based on the total time of this performance of The Medium, "Spirit" 73 a 2 1=0 II lip101111P oilaNow$*9"! I * ,, ~7I c% I ~~~___ 13re :JEEI WT I' 9 I 74 b 9 9A 1 tos Am. W- LOW A l b 9 0 9 -99,a - + 9 '4- vrol 1 ,E Q9>99 9p I 9 9 ii_ a t I I31.0 ii I :iii mlm 9 1 9~9 ; ~ y I - '- V I 94E] L v- :: -'j-I j:j .AVM~k &Il 26 1* 0 1 I III N OL Fig. 24--Concentrated areas of "Spirit" leitmotifs a) Act I b) Act II 75 Leitmotif I" or "Spirit Leitmotif II" occurs throughout 78 per cent of the time-value units of one minute.2 Figures 23-a and 23-b also show the areas in which spirit leitmotifs are most concentrated (concentrated areas are areas in which two or more "Spirit Leitmotifs" (I or II) occur simultaneously or continually for approximately 30 seconds or more). These concentrated areas are indicated in Figure 24-a and 24-b by darkened areas on the staff. Figures 24-a and 24-b are duplications of graphs 23-a and 23-b, but 24-a and 24.-b show only concentrated areas of "Spirit" leit- motifs. The five concentrated areas in Act I show repeated emphasis on the idea of "the presence of the spirit." The first concentrated area (approximately Q to Q ) occurs during the time period preceding the seance in which the guests are anticipating communion with the spirits. The seance occurs from approximately CA to Q in which three concentrated areas appear. The longest and most concentrated of these three periods occurs at the latter part of the seance. The last and longest period of concentrated "Spirit" leit- motifs in Act I occurs from approximately Q to . In 2 The percentage (78%) was determined by dividing the total performance time (3532 seconds), minus the exceptions (360 seconds) and the tiie before the leitmotifs entered (420 seconds), by the total performance time (3532 seconds). 76 this period Baba becomes hysterical and accuses Toby of trying to frighten her. In Act II there are six concen- trated areas of "Spirit" leitmotifs. The third, fourth, and fifth of these areas occur in the section of dramatic recitative, "Afraid, Am I Afraid," during which time Baba continually hears the Spirit voice. Table VIII is derived from Figures 23-a and 23-b. This table shows the number of times "Spirit Leitmotif I" and Spirit Leitmotif II" are used in both Acts I and II of The Medium. Examination of Table VIII reveals the following fact s : 1. "Spirit Leitmotif II" (#3--194 occurrences) is tihe most used "Spirit" leitmotif. 2. "Spirit Leitmotif II" (#l--157 occurrences) is tihe second most used figure. 3. When both "Spirit" leitmotifs are considered to- gether, the totals show slightly more uses of leitmotifs in Act II (242) than in Act I (227). "Grief" Leitmotif One leitmotif is used in conjunction with the idea of 77 TABLE VIII MELODIC USES OF "SPIRIT LEITMOTIFS I AND II" IN THE MEDIUM No. of times used Symbol "Spirit Leitmotif I" Act IJ Act II Total 0 1 IlEll 2-* 105 52 157 2 RAI 2 0 13 67 "SpiritLeitmotif II" 3 93 101 194 0001 02 4 16 22 Totals 227f 242 469 Figures #1 and #2 of Table VIII include all "Spirit" leit- motifs consisting of chromatic lines containing from three to seven tones. Figure #4 includes all melodic variations of "Spirit Leit- motif II" (intervals vary from a minor second to a perfect fifth). grief felt by Mr. and Mrs. Gobineau. The "Grief" leitmotif which occurs in both vocal and instrumental melodic lines, is given in Figure 25. Ft 625--the "Grief" leitmotif, Act I, measures 6-8 after a) Antecedent portion of the leitmotif b) Consequent portion of the leitmotif Figure 25 shows the complete "Grief" leitmotif; however in some instances only the antecedent portion of the leit- motif is used. Two characteristics make this antecedent portion identifiable: (1) the contour of the melodic line; and (2) the rhythm of the first four notes . The melodic contour of the first antecedent portion of the "Grief" leitmotif is shown in Figure 26-a. The intervals of the "Grief" leitmotif may vary, but the contour of the first five notes (down a small interval, up a larger interval than the first, and down an interval--usually to a tone the same 79 as the beginning tone) remains the same, with one exception, which is shown in Figure 26-b. In this variation (Figure 26-b) of the antecedent portion of the "Grief" leitmotif, the third tone is repeated at the same pitch level as the first two tones, and then the contour continues as shown in Figure 26-a. O- O\ / o 0-0-0\ / 0 Fig. 26--Melodic contours of the "Grief" leitmotif a) The original contour, measure 6 after Q Act I b) A variation of the melodic contour, measure 7 in Act II. The rhythm of the first four notes of the "Grief leit- motif does not vary. However, beginning with the fifth note (notes under the bracket), the rhythm does vary. The original rhythm and variations of the original are shown in Figure 27. Fig. 27--Rhythmic forms of the "Grief" leitmotif a) The original rhythm, measure 6 after Q Act I b) Variation I of the original rhythm, measure 6 in Act II c) Variation II of the original rhythm, measure 8 in Act II Table IX contains all occurrences of the "Grief" leit- motif in Act I and Act II in conjunction with the text or stage action in order of occurrence. When the "Grief" leit- motif is used in conjunction with text, the exact portion of 0 MH bQli 0C. to 0 H (Y'\ cdP o C H to to A CO H C 4-)co (f) ) -HH Ed D o CQO CH o CH 00%O0/0 -H m - n 0 0 a*a4-) 4-) 4-~ -P E- O 4 U) CHWCH CCH0.CH 0 HE SH CH 4-) L\ 00 (1)C2 S -HH H HH c) CH H EdH 0 x.0 HHEs 0 . 0H (D H Q -H 4-) 4-) 0 H 0 HHEM p H c3 r o0 100 E~ EJ4H CoO 43 .t o .c5 U) 4-Z Oo4 .) 0.: 005CtI 0 t)~1 M O 4)P- I 4- - 4- -C H 4 * - H00- - 1 -05 -PcdHm H 0 U)0 C D (